• International Journal of Costume and Fashion
• /
• 제6권2호
• /
• pp.55-61
• /
• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• 복식문화연구
• /
• 제21권2호
• /
• pp.151-166
• /
• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.

• 보존과학회지
• /
• 제37권4호
• /
• pp.322-339
• /
• 2021

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.

• 한국의상디자인학회지
• /
• 제24권4호
• /
• pp.11-25
• /
• 2022

Convergence, a universal phenomenon in modern society, takes place in various ways throughout society, and the concept of convergence can also be observed in fashion shows. The concept of convergence is actively emerging in terms of fashion show directing. The purpose of this study is to suggest the development of fashion show directing by analyzing the convergence characteristics of fashion show directing through a Louis Vuitton fashion show, and to provide data on convergence in fashion shows. The object of the study is the women's Paris Pret-a-porter and women's cruise collection presented at the Louis Vuitton fashion show. The research method integrated the criteria for analysis and the characteristics of fashion show production through previous studies and a literature review. The characteristics of convergence production in Louis Vuitton fashion shows were identifeid through literature and visual data. In this study, the convergence of the Louis Vuitton fashion shows were divided into four categories: genre integration, sensory synesthesia, perspective diversification, and media scalability. First, the integration of genres enhanced the brand image and effectively conveyed the concept of the show. Second, the synesthesia of the senses expanded communication with the audience and increased the audience's immersion. It has also become a new way to experience fashion shows in person. Third, the diversity of perspectives changed and diversified the way audiences experienced fashion shows. Fourth, the scalability of the media means various ways in which the audience can experience fashion shows. Through this, it is possible to effectively convey information and experiences about fashion shows to the audience.

• 패션비즈니스
• /
• 제3권4호
• /
• pp.147-160
• /
• 1999

This paper is intended to compare and analyze the fashion trends that were introduced in the recent shows, held abroad and in Korea, so as to investigate how well the designers in Taegu and Kyungbuk (TK) area are keeping up with the international vogue. The research has done, analyzing Pret-a-Porter in Paris and the three events held in the TK area in 1997 -The Taegu Collection, Kyungbuk Fashion Festival and Textile & Apparel Fair and using reference pictures and documentary records. In order to investigate the trends the research is divided by four groups which are the silhouette, the detail, the color and the Fashion image and has done with the help of three postgraduate students. The results are as follows. 1. The Silhouette The slim-line has the greatest importance in the silhouette analysis of the recent collections. Like Elongated and Fit & Flare, tight-fitting and female-line were also appeared quite a lot. Compared with foreign collection, Korean collections put the bigger importance on the slim-line. 2. The Detail The printings, using paintings and plant-logos had the large portion of the accessories in both foreign and Korean collections. Draw string and wrap style were also presented a lot. Especially, at the Korean collections, layerd, corsage, and craft accent were emphasized, too. As for the necklines the similarity was found over the four events considering. Camisole neckline and halter neck were presented the most, and bared top, Vneckline, boat and low-neck which can highlight the feminity were often appeared as well. Considering collars, tailored and peaked collars which are frequently used for the jackets, were usually shown at the collections. Like convertable, shirts, wing and Italian collar, the collars that can be applied for the sports wears were presented a lot. Virtually no variation of design was found in the sleeve analysis. While set-in-sleeve and sleeveless were found commonly, not so many ornaments were added to the sleeves. The ankle and knee length for the pants and skirts were common. Furthermore, including the micro-mini, showing extremely feminine style the mini-style had the 20% portion of the skirt-length. Unbalanced lengths, using bias-cut were presented quite a lot on the runways. Deep slit skirts, wide pants and irregular hem skirts were in vogue. On the runways of Paris, more than 21% of the design was the burmuda pants. 3. The Color Red and Blue were in vogue in the four collections considering. Sometimes, yellowish was combined in Korean collections. Black and pale tone were appeared to be in fashion also with light grayish, moderate and deep tone. 4. The Fashion image As for the fashion image, feminine-decorative trend amounted to the large percentage in korean collections. At the foreign collection feminine-decorative trend and feminine trend were predominant, then mannish trend and simple trend were apeared equally. The research shows that TK area and foreign collections are fairy similar, which means that the designers in TK area have been making their efforts to satisfy the clients who have the international minds. However, compared with foreign collections, TK collections were apprered to be strongly inclined to only a few trends. Consequently the season trends are not as diverse as the foreign trends, which cannot satisfy the fashion taste of the clients in TK area. The local designers should know the tendency and the taste of the clients and make the more efforts to read local clients' mind.

• 패션비즈니스
• /
• 제16권5호
• /
• pp.57-73
• /
• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• 한국기후변화학회지
• /
• 제9권2호
• /
• pp.181-195
• /
• 2018

On December 12, 2015, the Conference of the Parties to the United Nations Framework Convention on Climate Change (UNFCCC) adopted the Paris Agreement, in which several developed and developing countries all committed to participating in the reduction of greenhouse-gas (GHG) emissions. South Korea has submitted an intended nationally determined contribution (INDC) proposal with a target to cut down 37% greenhouse gas business as usual (BAU) until 2030 in preparation for the 2030 GHG BAU. Under the post-2020 regime, which will be launched from 2021 as the agreement entered into force early, it is expected that efforts to support GHG reduction and adaptation to climate change in developing countries will be accelerated with the utilization of technologies and financial resources of developed countries. South Korea has established the Basic Plan for Climate Change Response and the Basic National Roadmap for Greenhouse Gas Reductions by 2030 to promote the response to climate change at the government level. The Ministry of Science and ICT, as the National Designated Entity designated by the UNFCCC, has come up with middle and long-term strategies for climate technology cooperation. South-Korea has an abundance of energy-consuming industries to support its export-oriented industrial structure; it is thus expected that achieving the GHG reduction target will incur a considerable cost. Moreover, in order to meet the reduction target (11.3%) of the intended nationally determined contribution proposed by South Korea, it is necessary for South Korea to actively promote projects that can achieve GHG reduction achievements, and financial resources are needed as leverage to reduce risks that can occur in the early stages of projects and attract private sector investment. This paper summarizes the theoretical discussions on climate finance and conducted a comparative analysis on the status of the funds related to climate change response in the UK, Germany, Japan and Denmark. Through this, we proposed the legal and policy tasks that should be carried forward to raise public funds that can be used for creation of new industries related to climate change as well as to reduce GHG emissions in South Korea. The Climate Change Countermeasures Act, which has been proposed by the National Assembly of South-Korea, stipulates the establishment of funds but there is no additional funding except for general account. In this regard, it is also possible to take measures such as the introduction of carbon tax or the collection and use of royalties through technology research and development projects for climate change, such as Industrial Technology Innovation Promotion Act. In addition, since funds are used in various fields such as domestic greenhouse gas reduction, technology development, and overseas projects, it is necessary to establish a system in which various ministries cooperate with the operation of the fund.

• 복식
• /
• 제66권6호
• /
• pp.79-94
• /
• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• 한국의상디자인학회지
• /
• 제19권2호
• /
• pp.129-144
• /
• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• 복식
• /
• 제51권4호
• /
• pp.71-80
• /
• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.